Module 9: Band Instruments “Monuments” 26 Instructional Hours Unit 1 Compound Time, 6/8 March, Ron MacKay et al (6 Instructional Hours) Unit 2 Song of the Tides and Responses, Mixed Meters (8 Instructional Hours) Unit 3 Prelude and Fugue in B-Flat, Exploring the Baroque , Cut Time, C Major/A Minor (8 Instructional Hours) Unit 4 Balladair, G and D Major, Portfolios (6 Instructional Hours) The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. Teachers are encouraged to adapt these suggested time lines according to the needs of their students. In addition, the total time allotment might be increased to 40 hours, allowing ample time for mastery of all concepts (and attainment of “Quality” CBA Standards), additional small ensemble activities, and opportunities for extended learning. Note: In order to be effective in teaching this module, it is important to use the material contained in Band Instruments 7-9: Curriculum Framework and Band Instruments 7-9 Appendices. Therefore, it is recommended that these two components be printed to support the suggestions for teaching, learning, and assessment in this module. Canadian Band Association Standards for Instrumental Music (Band): Scheduling and Time Allotment Teachers and administrators are encouraged to refer to the Scheduling and Time Allotments considerations and recommendations as outlined in the national standards document that can be downloaded from http://www.canadianband.ca/.
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Module 9: Band Instruments
“Monuments” 26 Instructional Hours
Unit 1 Compound Time, 6/8 March, Ron MacKay et al
(6 Instructional Hours)
Unit 2 Song of the Tides and Responses, Mixed Meters
(8 Instructional Hours)
Unit 3 Prelude and Fugue in B-Flat, Exploring the Baroque , Cut Time, C Major/A
Minor
(8 Instructional Hours)
Unit 4 Balladair, G and D Major, Portfolios
(6 Instructional Hours)
The instructional hours indicated for each unit provide guidelines for planning, rather
than strict requirements. Teachers are encouraged to adapt these suggested time lines
according to the needs of their students. In addition, the total time allotment might be
increased to 40 hours, allowing ample time for mastery of all concepts (and attainment of
“Quality” CBA Standards), additional small ensemble activities, and opportunities for
extended learning.
Note: In order to be effective in teaching this module, it is important to use the
material contained in Band Instruments 7-9: Curriculum Framework and Band
Instruments 7-9 Appendices. Therefore, it is recommended that these two
components be printed to support the suggestions for teaching, learning, and
assessment in this module.
Canadian Band Association Standards for Instrumental Music (Band): Scheduling
and Time Allotment
Teachers and administrators are encouraged to refer to the Scheduling and Time
Allotments considerations and recommendations as outlined in the national standards
document that can be downloaded from http://www.canadianband.ca/.
Contents
Band Instruments 7-9: Module 9 “Monuments” Overview
Unit 1: Compound Time, 6/8 March, Ron MacKay et al
Unit 2: Song of the Tides and Responses, Mixed Meters
Unit 3: Prelude and Fugue in B-Flat, Exploring the Baroque , Cut Time, C
Major/A Minor
Unit 4: Balladair, G and D Major, Portfolios
Bibliography
Overview
[KEY POINT ICON]
Important Reminder re Canadian Band Association Standards for Instrumental
Music (Band)
The intention is that, when Module 10 has been completed, students will have attained
“Achieves the Standard” requirements for Grade 9 as articulated in National Voluntary
Curriculum and Standards for Instrumental Music (pp. 30-33). Scales and rhythmic skills,
sight reading, and ear training in this module are designed with these objectives in mind.
Glossary • C, G, D Concert scale and arpeggio
• A minor scale – harmonic and melodic
• Chromatic scales beginning on B-Flat, B, C, E-flat, F, G concert
• Circle of 4ths
• Combinations of 8th and 16th notes and rests, tied notes, triplet quarter notes (see
CBA Rhythm Grade 9)
• 6/8, 9/8, cut time
• Time transition pattern (See CBA, p. 35)
• Simultaneous rhythms
• Mixed meters: 2/4, 3/4, 4/4, 5/4, 7/4
• Dynamic range ppp to ff, crescendo and decrescendo
• Extended techniques
• Aleatoric notation
• Glissando
• Staccatos and accents
• Percussion rolls, ratamacues
• Percussion ensemble
• Parade march, espressivo styles
• Imitation
• Melodic sequence
• Suspension
• Inner melody
• Balance
• Polyphony
• Fugue
• Four voice canon
• Graphic notation
• Soundscape
• Musique concrete
• Ron MacKay et al
• Derek Charke
• 32-bar song form
• Portfolio
Introduction
This module is centered around engagement with “monuments” of our musical world. It
includes work with: the Bach/Moehlman Prelude and Fugue in B-Flat Major and aspects
of the Baroque such as church architecture and the pipe organ; Mercer’s March written
by Ron MacKay (a Nova Scotian musical “monument”); Song of the Tides; and a
monument of the school concert band literature, Balladair (Erickson).
The module also includes: consolidating previous learning; C Major, A Minor, G Major,
and D Major scales; chromatic scales beginning on C and E-Flat; 6/8, 9/8, and cut time;
march style; espressivo style; and portfolio presentation. The intention is that students
will continue to have opportunities to play in solo, small ensemble, and large ensemble
settings.
[KEY POINT ICON]
The full ensemble repertoire included in this module is intended to challenge students
technically, intellectually, and expressively. Often, in previous modules, teachers have
been encouraged to make their own full ensemble repertoire choices. In this module,
however, it is highly recommended that Song of the Tides, Prelude and Fugue in B-Flat
Major, and Balladair not be replaced by other works. If these works are technically
too demanding for students, further study of skills and knowledge (and appropriate
repertoire) introduced in Modules 7 and 8 is required. Teachers may prefer to use a 6/8
march other than the one recommended in Unit 1 but the investigation of the life and
work of Ron MacKay (or another Nova Scotian music education icon) is central to this
module.
[KEY POINT ICON]
Module 1 promotes approaches to music learning and making that are at the core of all
subsequent modules. It is strongly recommended that teachers revisit key musical
components from Module 1 before beginning any new module, term, or school year, in
order that they keep these integrated components at the center of their planning and
classroom practice.
Outcomes Addressed
Strand 1: Creating, Making, and Presenting
Students will be expected to
1.1 Using appropriate terminology, demonstrate an understanding of rhythm by creating
and performing rhythmic compositions in a variety of meters
1.2 By performing repertoire in group music making, demonstrate an understanding of
melody (e.g., melodic direction, tonal centre, contour)
1.3 Use the elements of music to express and communicate meaning
1.4 Interpret non-verbal gestures making connections to notation and musical expression
2.1 Maintain a part within a variety of textures and harmonies using a range of musical
structures and styles
2.2 Use a variety of notational systems to represent musical thoughts and ideas
2.3 Apply skills and attitudes appropriate to a range of group music making activities
demonstrating audience etiquette, performance skills, and responsibility to the group
2.4 Perform, alone and with others, music expressing a broad range of thoughts and
feelings
Strand 2: Understanding and Connecting Contexts of Time, Place, and
Community
Students will be expected to
3.1 Demonstrate respect for, discuss and compare music from a range of historical and
cultural contexts
3.2 Examine and describe ways in which music influences and is influenced by local and
global culture
4.1 Examine ways in which music enhances and expresses life’s experiences
4.2 Choose music for a variety of purposes and justify their choices
4.3 Reflect on ways in which music expresses the history and cultural diversity of local,
national, and international communities
5.1 Define relationships among music, other arts, and other subjects
5.2 Examine the roles that music plays in local and global communities
Strand 3: Perceiving, Reflecting, and Responding
Students will be expected to
6.1 Examine and explore a range of possible solutions to musical challenges
6.2 Use processes of description, analysis, interpretation, and evaluation to make and
support informed responses to their own and others’ music and musical performances
6.3 Critically reflect on ideas and feelings in works of music, and identify patterns,
trends, and generalizations
7.2 Explore technology applications to creating, making, and presenting their own and
others’ music
7.3 Demonstrate a thorough understanding of a chosen software program for writing
music and for ear training purposes
8.1 Evaluate choices of the elements of expression in musical compositions based on the
composer’s intent
8.2 Use feedback from others to examine their own musical works in light of the original
intent
8.3 Analyse performances and provide critical commentary on aspects of musical
presentation in light of the performers’ intent
Unit 1: Compound Time, ^ March, Ron MacKay et al (6 Hours)
Introduction
This unit provides a follow-up to previously introduced learning targets relating to
rhythms in compound time, articulations, march style, and dynamic levels. Students will
review previously studied major, chromatic, and harmonic and melodic minor scales.
They will work with rhythms in 6/8 and 9/8 meters that include eighth and sixteenth
notes. The ratamacue will be introduced for percussionists.
Students will also have an opportunity to consider the contribution of Nova Scotian
musical “monuments” such as Ron MacKay and his colleagues to music in Nova Scotia
and beyond.
Key Concepts/Musical Building Blocks • Consolidation of learning in Modules 1-8
• Circle of 4ths
• Chromatic scales beginning on B-Flat, F, and G concert
• Combinations of e and s notes/rests in ^, (
• (see CBA Rhythm Grade 9 section f)
• Dynamic range pp to ff
• Staccatos and accents
• Percussion rolls, ratamacue
• Parade march style
• Ron Mackay (et al)
• Suggested full band repertoire: Mercer’s March (Ron MacKay)
NOTE: Band Technique Step-by-Step references include selected scale, chord, and
rhythm studies found on pp. 2-13 of the student book, rhythm studies pp. 30-33 and
advanced rhythms #9-10 on page 36.
Teaching, Learning, and Assessment Process
Basic Skills Component
The following suggestions are provided for this component:
The compound time rhythm patterns involved are:
• Dotted quarter rest
• Quarter-two 16ths
• Two 16ths-quarter
• 8th-four 16ths
• Four 16ths-8th
Continue to use a range of strategies including clapping, personal percussion, speaking,
etc. Arrange students in two groups, having one group provide the steady dotted quarter
note beat, while the other performs the specific rhythm pattern. As students gain
confidence, arrange them in three or four groups and have patterns played
simultaneously. Use of rhythm flash cards and “call and response” exercises can be very
helpful here as well. Percussionists can include ratamacues during the rhythmic exercises.
Tips for Teaching Success
Just a reminder that, in The Creative Director, Lisk explains convincingly that it is very
important “to NOT have students count rhythm patterns in a monotone response with
very little voice inflections”, and that “my students had no problem with rhythmic
comprehension when I emphasized the nuance, inflections, and rhythmic flow of words
in a sentence.” The instructional process that he outlines on pages 51-54 could be very
helpful in addressing challenges of rhythm patterns included in this unit.
[ASSESSMENT ICON]
Consider asking students, at the outset of the unit, to make a chart that shows chromatic
scales and rhythm patterns that they will be working on in this unit, indicating which
have been mastered, which are “almost there”, and which require significant further
attention. Self- and teacher assessment at the end of the unit could be based on this initial
list.
Have students clap-count-sing and play rhythms found in Mercer’s March
simultaneously with three other rhythms from the same piece.
As students are working to master eighth-note chromatic scales, encourage them to try a
variety of articulation patterns that might occur in 6/8 meter including all tongued, two
slurred-one tongued, one tongued-two slurred, etc.
Tips for Teaching Success
Thoughts from Ron MacKay re conducting the full ensemble include
“You have to spend time with the musical answers, not just the technical answers. Try to
work more on the musical side of things. I know a lot of people don’t like teaching by
rote, but to get at the heart of the music, you have to use rote. I remember a Dr. Harry
Beazing (?) talking about this in a 1968 clinic at Waterloo Music. About rehearsing a
band based strictly on the technical points and sending it out as a musical number – it
won’t happen. He said that if you think you are going to conduct without using rote,
you’re a liar. You do it unconsciously. It’s a matter again of using the ears. It’s the head
and the heart. And that’s the part you miss when you just deal with what’s on the page.
The band could be playing really well technically, but. . . .”
“I can handle a wrong note if the overall musical shape is there. A director with a good
band can think it is a great performance but still have lots of wrong notes because he/she
is not paying attention to what’s on the page because he knows it so well. He ends up just
listening to the piece as he knows it. I call it fantasy. Fantasy. He gets up on the podium
and all of a sudden it’s no longer his band, but what he hears in his head.”
“You can compare wrong notes (like missed key signature notes) to a baseball field. With
wrong throws there would be balls all over the place!” (Ron MacKay, March 13/08)
When working with Mercer’s March (MacKay), consider the following suggestions:
• As part of an introduction, ask students what they know about 6/8 meter and
march style. Ask them to recall 6/8 marches that they have played previously
(e.g., Washington Post, French Canadian Suite, Mvt. 1). What are the particular
challenges involved?
NOTE: See Active Listening below for suggestions for 6/8 marches that might be part of
introductory activities.
• Review with students the characteristics of march style (See Jagow pp. 128-129).
Have them march, standing in place or march around the room (or down the
hall!!) while a 6/8 march is being played. Talk about how the music can energize
and “lift”, whether for those actually marching or for those sitting and tapping
their feet. Have students say rhythms from this work in a manner that provides
that impetus and “lift”, understanding the importance of separation and accent!
[ASSESSMENT ICON]
• Provide students with a few minutes to study their own parts. Have them identify
particular “points of interest” such as key signature changes, repeat signs, 1st and
2nd endings, etc. and then sight read the work without stopping, if possible.
Consider recording the effort and saving it for “reference”. Once students have
worked with the piece for some time, have them listen to their first effort and
compare it to a subsequent recording, asking them to identify which aspects they
have made the most progress with, both individually and as a full ensemble.
Tips for Teaching Success
When students are scanning for sight-reading, encourage them to identify scale fragments
from scales that they already know. This suggestion is provided as part of the rationale
for the Grand Master Scale (Lisk, p.82).
• With students, analyse each section of the march in terms of melody,
countermelody, harmonic/rhythmic foundation. Colour coding could be used to
indicate melody and counter melody. Talk together about implications for
balance within the group and encourage students to place dynamic numbers on
their parts.
Tips for Teaching Success
“We have been having success with “mapping” our music. During one class we mapped
out who had the melody throughout… in another class we mapped out all of the
dynamics….another was all tempo changes.” (Dina Burtt, 2011)
• Have students work in groups of 4-6 to rehearse sections of the march. Be sure to
include in each group representative(s) of melody, countermelody, and harmonic
and rhythmic foundation. Ask groups to focus especially on rhythmic
“synchronicity” and effective balance of the individual lines. Once students have
had 15-20 minutes to work in these groups, play the section(s) again as a full
group and reflect together about what musical insights have been gained.
• See Ear Training/Improv below for a fanfare game that might assist trumpets
with the fanfare figures found in the first sections of this march.
• Explore, with students, the dimensions of the contribution made by such Nova
Scotian “pioneer” school music teachers/band directors as Ron MacKay, Wilf
Harvey, Sr. Blanche Gillis, Chalmers Doane, and Sr. Rita Clare who are indeed
monuments of our musical heritage. Notes From a Musical Garden (Porter,
2005), a Cape Breton University Press publication sponsored by NSMEA, could
be a useful resource. Students might:
o Put on a “detective’s hat” and talk with family and community members,
including local musicians, about renowned teachers of the past
o research via the Internet stories and photos that appeared in local
newspapers
o do research using the Nova Scotia Band Association website or Facebook
page
o create a “gallery” in the music room of old photos and stories
o invite one of the students of these teachers to visit the class and talk about
the contribution the teacher made to her/his life and music
o invite one of Ron MacKay’s children who are musicians and teachers
themselves (Ken, Karen, Jane, Doug) to visit the class and talk about their
father and his music
Tips for Teaching Success
“I love the emphasis put on local composers (especially Ron). I have had all of my
groups play and perform music by him this year. We talked about local composers (we
have two songwriters in the grade 9 band group) and had a guest composer come in.
A huge highlight for my grade 9s was having Dinuk Wijeratne come in and work with
my grade 9 class. He did an improvised graphic notation piece with them and it was
amazing. We have spent some time doing follow up and talking about the importance of
improvisation. I highly recommend having guest conductors/clinicians coming in to
work with students. Dinuk was incredible and the students were completely engaged in
what he had to say. I had them do some research on him and spent some time in class
preparing them for his visit and this was very valuable as well.” (Gale Lohnes, 2011)
[EXTENDED LEARNING OPPORTUNITY ICON]
Together, visit the RonMac music website (www.ronmacmusic.ca) to find out more about
Ron MacKay’s life and the rich body of music that he has written for young bands.
Consider purchasing one or two of his Grade 1-1 ½ pieces for sight reading and future
use with younger students. Some members of the class might like to conduct one of the
pieces!
Consider having a Ron MacKay group in the next concert and have one of his children or
former students conduct one of the pieces.
Tips for Teaching Success
Often it can be a challenge to “sparkle” during classes and rehearsals, to connect with
students in an animated yet purposeful way. Rob Franzblau (Music Director’s Cookbook,
pp. 43-44) provides three delightful tips for a “fresh-out-of-the-oven” feeling that is
contagious.
Written Theory Component
Written theory exercises for this unit should include:
• writing rhythmic patterns studied in 6/8 and 9/8 meter and adding counting
syllables. Special attention will need to be paid to correct grouping.
• writing a “score” of the rhythmic patterns found in an 4-bar section of Mercer’s
March
• writing chromatic scales, with and without key signatures
Ear Training/Improvisation Component
Using both the singing voice and their instruments, have students do melody playback
(See CBA Standards for Grade 9), using six-note melodies in concert B-Flat, E-Flat, and